Cultural environment is the collective expression of traces that people have left behind through the ages. In addition to visible imprints, there are also invisible ones, for example place names or a place where something happened and which therefore makes it special.
For the Norrbotten Museum, the cultural environment in Norrbotten is an important focus area. We mediate, carry out assignments and give advice in matters relating to cultural environments.
Through archaeological activities, we constantly gain new knowledge about the county's prehistory. The results of archaeological investigations over the past twenty years mean that Norrbotten's history must be rewritten.
For over 10 years, people have lived in northern Sweden. More than 000 years ago, even iron and steel were produced with advanced technology. The ancient and cultural remains that people have left behind are important for our common cultural heritage.
Archaeological investigation at the Ligga Stone Age grave. Photo: G Rúnar Gudmundsson, Norrbotten Museum.
Archaeological assignments are carried out before an area is to be built on, or used in a new or different way. The archaeological work can be divided into different stages, which are regulated in, among other things, the Environmental Code and the Cultural Environment Act (KML). Norrbotten Museum carries out all of these assignments.
Environmental impact statement (EIA) is carried out at an early stage to give an overall picture of the environmental impact of the planned work. The EIA is done at the direct request of the developer or consultant.
We carry out cultural-historical analyzes that can be incorporated into an EIA. We can deliver overall analyzes together with the museum's architectural antiquities, or analyzes with a focus solely on archaeology. They can be done as pure desktop products, but also in combination with field work.
Archaeological investigation is carried out to find out whether ancient remains are affected by the planned work. Investigations are mainly carried out based on the KML at the request of the County Administrative Board, but can also be carried out at the direct request of the developer - outside the KML.
Archaeological investigations is always carried out based on KML and upon request by the County Administrative Board. An archaeological preliminary investigation is carried out, among other things, to assess the size and find content of an ancient site. If an ancient remains needs to be removed, an archaeological investigation is carried out. During the investigation, the remains are documented, findings are taken in and analyses. The results are collected in a report. The documentation is saved for the future in the museum's archives and collections.
Osteological analysis and macrofossil analysis
If bones are found during an archaeological investigation, the museum's osteologist can analyze them to find out which animals are in the material.
Have you found a strange pit, a collection of rocks, a strange object, or something that seems old? Then it could be an ancient relic or an ancient find.
According to the Cultural Environment Act, ancient remains are the remains of human activities in ancient times. They have been added through ancient use and are permanently abandoned. For something to be classified as an ancient relic, it must have been added before the year 1850.
Examples of remains that can be classified as ancient remains:
graves and burial grounds
stones and rock surfaces with carvings or paintings
crosses and memorials
gathering places for administration of justice, cult and trade
remains of homes, places of residence and workplaces
ruiner
roadways and bridges, port facilities, road and sea marks, border marks and labyrinths and shipwrecks
natural formations associated with ancient legends or strange historical memories and remains of older folk cults
According to the Cultural Environment Act, antiquities are objects from prehistoric or older times that have no owner when they are found.
Read more about ancient finds on the Swedish National Antiquities Authority's website (opens in new window).
The Norrbotten Museum archive is a public archive that receives documentation material from actors who carry out archaeological investigations in the county. The Norrbotten Museum also has a prior decision on the distribution of finds from the National Heritage Board. The finds must therefore be submitted to the Norrbotten Museum while awaiting a decision on the distribution of finds.
Documentation material that is of importance to an archaeological mission must be prepared and taken care of so that it is preserved and accessible.
Contact Norrbotten Museum when the assignment is being planned, then you will receive:
Instructions for delivery of documentation materials, which include Archival materials, Photographs and Findings and samples.
A log number (unique for each assignment), which must be stated in the investigation plan sent to the County Administrative Board.
A draft agreement regarding the delivery and the agreements that apply to this.
E-mail: norrbottens.museum@norrbotten.se
Please enter "Submission of archaeological documentation material" in the subject line.
After each archaeological mission, the results are collected and interpreted in a report. You can find our reports on the Swedish National Heritage Board's website (opens in new window).
If you can't find the report you are looking for, you can contact us by:
send email to: norrbottens.museum@norrbotten.se
call: 0920243502
If you belong to a school, association, municipality or similar, you are welcome to hire us to give a lecture or demonstration.
Lectures that we hold in our own premises are free and open to everyone.
In connection with archaeological investigations and surveys, we often hold tours or lectures for the public. Keep an eye out on social media or in the calendar here on the website.
If you need information signs or texts for exhibitions, we can help.
Below we present some current and ongoing projects that we run or participate in.
Glacial archeology is a relatively new field of research in archaeology. The research involves inventorying traces of historical and prehistoric activities hidden and preserved in glaciers and permanent snow patches. Global warming causes findings to melt away at a rapid rate and be exposed. Therefore, it is important to inventory in these areas to collect finds that have not yet decayed and disappeared.
Between 2021 and 2024, Norrbotten's museum inventoried along melting glaciers and snow patches in Swedish Sápmi, mainly within Gällivare and Kiruna municipalities. The Silver Museum in Arjeplog has inventoried in Arjeplog municipality and Ájtte - Swedish Mountain and Sami Museum in Jokkmokk municipality.
In Norrbotten, finds have been made of shafted arrows and points dated to the Viking and Middle Ages, as well as ski fragments and axki from historical times. In addition, reindeer antlers and reindeer bones have been found, which in some cases have been dated to the Stone Age. An arrow/spearhead made of horn, probably from the Stone Age, has also been found. The goal was to try to document the reindeer hunting that took place on glaciers and snowfields.
Glacial archaeological finds have been made in various places around the world. Perhaps the most famous find is the Iceman, or Ötzi as he is also known, who lay frozen in a glacier in the Alps for more than 5000 years.
However, finds of human remains are not common. Archaeological finds related to hunting and transportation, such as parts of sledges, skis and arrows, are more common. In Norway, more personal equipment has also been found, such as worn-out shoes and clothing.
The research project GLAS included inventories along the entire Swedish mountain chain. The project was initiated by Stockholm University and is financed by the Marcus and Amalia Wallenberg Memorial Foundation. In addition to Stockholm University and Norrbotten Museum, Jämtland County Museum Jamtli, the Silver Museum in Arjeplog, Ájtte - Swedish Mountain and Sami Museum and Västerbotten Museum participated.
The deserted cemetery at Silbojokk/Silbbajåhkå is eroding into Lake Sädvajaure/Sädvvajávrre. We are conducting archaeological investigations at the site of to preserve as much information as possible before it is destroyed. From an ethical perspective, it is also not good for human remains to wash up on the beach.
The investigations have been carried out in batches since 2003. Up to and including 2022, about ninety graves have been investigated. The surveyed area is approximately 500 square meters. The original burial site is estimated to have been approximately 400 square meters. The area that remains to be investigated is mainly inside the church grounds, and there we know that there are still graves.
To date, Norrbotten's museum has collected over 1100 finds. The most common finds are nails, window glass, lead bars, fittings, knives and fire steel. The finds come partly from the two churches that stood on the site, and partly from graves.
During the first investigations, many finds were found loose on the beach after being washed up by the water. In recent years, most finds have been found in their original location, especially in graves. The finds consist mainly of nails and fittings from coffins, but also more personal items such as knives and fire steels. In some graves, details from clothing have also been found. Some unusual finds have also been found; a probable driving staff, fragments of silk fabric and two egg-shaped stones.
The most important purpose of the work in Silbojokk is to investigate the graves that lie on the surface. Partly so that the human remains do not erode onto the beach, which is highly unethical since the site can be visited by the public. But also because the information in the graves and the human remains can tell personal stories about what life was like during the 1600th-1700th centuries in the inland of upper Norrland. They constitute invaluable complements to the historical sources.
So far, analyses have provided information about, among other things, age, kinship, health, eating habits and how people moved in the area.
One individual has had severe problems with gallstones.
Some individuals have had greatly elevated levels of lead in their bodies, so much so that it has affected their health.
An individual has lived his life elsewhere, but has lived in the area of Silbojokk for two periods.
On our blog there are several posts about Silbojokk and the archaeological investigations (the link below opens in a new window).
Since autumn 2016, historians of technology at Luleå University of Technology and archaeologists at Norrbotten Museum have collaborated in the interdisciplinary research project Iron in the North. The goal is to create a deeper understanding of early iron handling in the northern region and place it in a broader European context.
By interweaving iron handling with the people's other everyday activities and the challenges of the landscape/climate in the north, a richer and more multifaceted picture of the ancient societies emerges. The results that have arrived therefore not only break new ground in iron research in Europe, but also shed new light on the ancient hunting and trapping societies in the north.
Blog post about Iron in the North
(link opens in new window)
The project examines how the expansion of hydropower in Norrland has affected ancient and cultural historical remains, people and communities.
When Norrland's lakes and waterways were to be expanded to extract hydropower, several of these were lined with rich ancient and cultural historical remains. But expansion and regulation have since destroyed or damaged many such cultural heritage sites, along with climate change in recent decades. This project examines the extent of these consequences.
Another part of the project is to investigate how developments have affected people who live and work there. The arrival of hydropower fundamentally transformed people's relationship with the rivers. Both industries (reindeer herding, fishing, livestock farming, etc.) and infrastructure and cultural heritage (routes, significant places, etc.) that had long characterized people's interactions with the rivers were affected or disappeared.
The owner of the research project is Luleå University of Technology. Participating parties are the Norrbotten Museum, the Västerbotten Museum, Umeå University and the National Antiquities Authority.
The red-brown grave in Liggá is one of the oldest prehistoric graves in Norrbotten. Hydropower expansion has caused the grave to erode into the Stora Lule River.
The red oak graves in Ligga were discovered in connection with the National Antiquities Agency's antiquities inventory in the area in 1994. From 2022, the Norrbotten Museum will carry out an archaeological rescue survey to secure the scientific information from the site before it is too late.
Blog post about the Rödockragraven in Liggá
(link opens in new window)
On our blog you can read about several assignments.
(The link opens in a new window)
Via the links below, you can read the Norrbotten museum's policy for human remains. The appendix describes inventory entered and non-inventory materials of human remains.
In Norrbotten there is everything from grey meadow barns and Sami buildings, to magnificent Norrbotten farms and large church and Lapp towns. To ensure that they are preserved for future generations, the Norrbotten Museum's building and building antiquarians work in several different ways. For example, they monitor the cultural values of buildings during urban planning, provide tips and advice when church cottages, residential buildings and apartments are renovated and can also make inventories of valuable cultural environments.
Building care is pretty much what it sounds like - looking after a building. But what is the best way to do it?
The basis of building maintenance is a focus on character and style. But also that materials and methods with which the building was once constructed are used during renovation. You often have to compromise between today's building regulations and the choice of materials and execution at the time. If you find a good compromise, you also preserve the soul of the building.
If you own a property, you also have a responsibility to care for it based on "Chapter 8, Section 13, Section 14 of the Planning and Building Act - the prohibition of tampering and the requirement of care". Sometimes it is tricky to know how to do it in a good way. Please contact our building antiquarians for help along the way.
Do you need advice on issues related to buildings and building conservation? Do you own a building and plan to carry out measures? Please contact our building conservation experts for tips and advice on how you can carry out your projects without compromising the building's cultural and historical value and health.
The first consultation is free of charge.
We carry out assignments in the form of antiquarian participation when the County Administrative Board has granted building conservation grants in accordance with the "Regulation (SFS 2010:1121) on the management of valuable cultural environments".
The cultural environment program is a knowledge base that highlights the buildings and environments that are judged to be culturally and historically valuable in a municipality.
A cultural environment program can function as a concrete tool in an individual planning situation, but also as an overall vision document for the municipality's most important cultural-historical stories. The aim is for property owners, community planners and the public to know the municipality's cultural environments so that they can be carefully managed.
We carry out cultural-historical investigations and analyzes of the built environment. The purpose of a cultural environment analysis is to identify and describe the cultural values of the built environment and to investigate how a planned exploitation affects the cultural environment.
Cultural environment analyzes are often done in connection with development projects and detailed planning work. The analysis can also be included as part of an environmental impact statement (EIA) and serve as a basis for future development work.
Buildings of cultural and historical value can be considered historical documents. They carry stories about craft methods, architecture, social development, traditions and about the people who lived in and around them. Most buildings sooner or later face major changes and sometimes even demolition. With the help of building documentation, valuable knowledge about a building can be preserved.
A building documentation can look different. It can either cover a building in its entirety, both exterior and interior, or only a part of the building. Usually the historical context of the building is also included in the documentation.
A built-up inventory means that information about a built-up environment is compiled and analyzed based on a cultural-historical perspective. The inventory is based on studies in the field in combination with literature and archival material. It is common for inventories to be used as a basis for detailed or overview planning, when assessing the cultural-historical values of individual buildings or in connection with a cultural environment program being drawn up or changed.
In order for a building to be preserved, it is important that it is cared for and maintained continuously. Through damage prevention measures, the chances of a building's survival can be strengthened. A care and maintenance plan (VoU plan) contributes information about a building's condition, damage and need for action. The care and maintenance plan also provides guidance on which measures are recommended to ensure long-term preservation.
When developing a care and maintenance plan, the building is first carefully examined to find out its status and identify any damage. After that, the property owner receives instructions on which measures are suitable for the building, for example material and color choice or craft method. The care and maintenance plan must be helpful for the property owner when planning the building's future maintenance and long-term management.
We respond to referrals from municipalities and other bodies in matters concerning culturally valuable buildings and environments.
On request, we conduct lectures, city walks and workshops linked to cultural conservation, cultural environments and building conservation.
The main aim of the Interreg Aurora project has been to preserve and promote the centuries-old cultural heritage of net fishing in the Tornedalen for future generations. The living cultural heritage is a vital and well-known part of the identity of the Tornedalen River.
The project consists of four work packages that include activities from the development of a protection strategy to a mobile exhibition, VR tools and applications. The goal is to make the cross-border gillnet fishing culture better known using, for example, events, podcasts and marketing materials. An essential part of the project is to transfer knowledge to younger generations. Traditional practitioners, fishing communities, municipalities, organizations and other stakeholders are involved in the sustainable protection work in the project.
Project duration: 1 August–28 February 2027.
Project Torne Valley Dipnet Culture is a collaboration between the city of Tornio (main applicant), the city of Haparanda, Norrbotten Museum/Region Norrbotten and Vocational College Novia. The umbrella organization Pro Siika ry is an official partner of the project and represents the traditional community and associations on both sides of the border. The Tornedalen Museum is responsible for the project administration.
Here you will find information concerning building conservation, buildings and cultural environments. If you would like to delve further into any area, we recommend that you check out the list of recommended literature further down.
Everyday care and maintenance of buildings should be done carefully and long-term, and based on the building's character and cultural-historical value. During maintenance and restoration, you should use the same type of materials, processing and construction techniques as when the building was constructed. At the same time, you contribute to the survival of the construction industry.
When repairing damage, you should generally preserve, supplement and reuse as much of the original material as possible. Only when it is deemed necessary should the material be replaced. If you have to replace wood, it is better to use new wood that has been processed using the correct craftsmanship and method than to reuse wood that has been processed in a different way than the original. Roofing materials – such as shingles and battens – should always be made of new, sound wood.
If you use traditional materials and methods, future work will be relatively easy to implement. New additions should be made so that they do not distort the whole, and documented or marked so that they can be distinguished from the preserved original parts.
Culturally valuable houses do not have the same energy/saving potential as a building without cultural historical value. Cultural-historical and aesthetic aspects must be taken into account, where, for example, window replacements and additional insulation are not an option. You can take energy efficiency measures, but should then choose the right one based on the building's conditions so that the building's values and character are not damaged - but also for practical reasons. For example, old houses often depend on self-drafting to keep them comfortable and maintain a healthy indoor environment. Improperly performed insulation impairs self-draft and can lead to damage to the building.
If you have just bought a house, it is important that you do not rush the energy-saving measures, but think before doing so. Live in the house for a while, get to know it and listen to your senses before making a decision. Where is the cold coming from? Is the electricity bill too expensive? Is the heat source working optimally? Does the choice of heat source need to be reviewed?
See also review your requirements. Do all rooms need to be heated equally, or can you lower the heat in the hall and spaces that you don't use very often? How many clothes are you wearing? Are slippers an option, or an extra blanket in the bed? Are you comparing your house with the comfort of an apartment or a newly built house?
Take the help of an independent energy adviser at the municipality. A good energy consultant ensures that the building's cultural and historical values are not damaged. Make it clear that you want to protect your building and its qualities. Clarify at an early stage that the cultural-historical and aesthetic aspects must be taken into account. Then the conditions for energy efficiency are clear right from the start. It is also an advantage to hire craftsmen and energy consultants who are interested in working with older houses, as different and creative solutions may be needed. Each house needs its own comprehensive solution.
Different energy-saving measures affect each other. If the attic floor gets better insulation and the heat losses are reduced, the prerequisites for the heating system change. If you can make the heating system more efficient and reduce energy costs, it is less profitable to insulate additionally.
Sources: Broström, Tor, 2007. "Energy-saving prerequisite for conservation". In: Tidskriften Byggnadskultur no. 1/2007. Stockholm.
The journal Byggnadskultur's collection of articles
The Swedish Energy Agency's website
The research program "Save and Preserve"
Save energy by maintaining your property. The most profitable effects are usually made in connection with maintenance or reconstruction.
Insulate and seal climate shells (roof, walls, floor and windows).
Make energy supply more efficient, such as switching to a more efficient boiler or heat pump. Changing thermostats or better controls can also increase efficiency.
Change the behavior of the residents, such as lowering the indoor temperature. Do all rooms have to be heated equally? Can you wear warmer clothes?
Additional insulation and window replacements must not be done in culturally valuable buildings. Neither are minor measures such as changing the front door, as this can negatively affect the building. But, for example, insulating the attic joists does not have to damage any cultural and historical values - such a measure can be very profitable.
Insulate the attic joists or the roof joists if the attic is furnished.
Improve/top up insulation in floor joists.
Streamline or supplement the heating system.
Seal windows and doors.
Restore windows carefully. Regularly maintaining and checking windows is a good investment.
Changing the inner arch glass to low-emission glass is a simple and inexpensive measure to make windows more energy efficient. Then you can keep the slats of the outer glass, if any. Keep in mind that there is a difference between glass and glass. If the inner glass is hand-blown, skip this step and instead focus on restoring the frames and doing other energy-saving measures. Don't forget that, for example, windows from the 1950s are also culturally and historically valuable.
Install control and regulation systems and power monitors to maintain an even and desired indoor temperature in different parts of the building. The control system must quickly adjust the temperature in, for example, the kitchen when cooking or when the sun is shining, without increasing the effect during shorter ventilation. A power monitor can switch off heating systems and water heaters before electricity consumption reaches levels that the main fuse cannot handle. In this way, a lower main fuse can be installed and the grid fee is reduced.
Adjust control and regulation functions.
Change or connect thermostats. A broken or poorly functioning thermostat can cause an unnecessarily high energy consumption. A thermostat may need to be replaced after 10-15 years.
Lower the indoor temperature. Reducing the indoor temperature by one degree can provide approximately five percent energy savings. In rooms that are rarely used, you can lower the temperature further. Keep doors closed between cold and warm rooms. However, be aware that the lowering does not create moisture problems in certain spaces.
Insulate the outside of the basement wall in connection with drainage of the foundation.
Install a thin wind seal under the panel in connection with a restoration of the facade.
Install low-flush fixtures and energy-efficient white goods.
Raise the temperature in the freezer from -20 to -18.
Air dry the laundry.
Draw down the roller blinds and blinds, and draw the curtains for the windows for the night.
Move furniture away from the radiators so that the heat spreads throughout the room.
Hang a thick curtain in front of the front door during the winter or supplement with an internal door.
Air quickly but thoroughly through cross strokes.
Do not leave the TV and other appliances on standby.
K-marking is a collective term that is often used for culturally and historically valuable buildings and environments. The word comes from older town and building plans where culturally important buildings were pointed out and protected with a "K".
Today, such buildings are protected with other letters in detailed plans, mainly with "q". They are often then not allowed to be torn down or defaced - that is, changed in such a way that the cultural-historical value is reduced. The word K-marking is still used in everyday speech. The fact that a building is said to be K-marked does not mean that it is automatically protected by law, but it may be considered valuable in the eyes of the public and should therefore be protected.
Buildings and environments that have a cultural value can be protected in different ways. If you want to know which rules apply to your particular house, contact the city planning office in your municipality.
According to the Cultural Heritage Act, churches (built before 1940) and monuments have special protection. The County Administrative Board can declare a building as a building monument. Anyone can propose that a building be protected.
The Planning and Building Act gives municipalities the opportunity to protect buildings and environments, mainly through q-marking and area regulations. Environments can also be singled out in various cultural environment programs as particularly valuable and thus worth preserving.
Entire areas that contain such unusual cultural values that they are important for the country or county can be designated as national interests or cultural reserves according to the Environmental Code. In Norrbotten there are today two cultural reserves: Hanhinvittiko fäbod in Övertorneå municipality and the village of Gallejaur in Arvidsjaur municipality.
You should start from the house's own conditions if you are going to renovate or rebuild - regardless of whether it is a Norrbottensgård from the 1700th century, a funk villa from the 1940s or a million program area. Some renovations can entail drastic changes to the building's exterior and architecture.
It usually takes a 100-year period for a building to be perceived as having cultural and historical value. Take a typical brick villa from the 1960s as an example. The building is insulated on the outside and clad with wood paneling. The double-glazed windows in two bays are replaced with newly manufactured triple-glazed windows in one bay, the windows end up like deep eyes in the facade. With such a change, the house has often lost its harmony and the architect's idea when the building was designed is as if blown away. This scenario would not raise many eyebrows today, but in 50 years people will probably think it is terrible. Many may think that 1800th-century houses are worth preserving, but do not see the value in not renovating the 1950s villa to pieces. Not until it is too late.
There are many church environments in Norrbotten. This includes buildings of the Church of Sweden, such as churches and chapels. But also cemeteries, burial grounds and parsonages.
A setting that is particularly common in Norrbotten and Västerbotten are the church towns. They grew up at church sites when the distance to the church was long and the need for overnight accommodation was great. Read more below, under the heading "Church towns in Norrbotten".
It is not only church buildings that are valuable for our cultural heritage. This also includes cemeteries and burial grounds. All church buildings, church grounds and burial grounds that were built before 1940 are therefore protected according to the Cultural Heritage Act and may not be changed without permission from the county board. There are also a number of church buildings that are protected under the Cultural Environment Act, even though they were built after 1940, because they are considered to have very high cultural values.
The protection in the Cultural Heritage Act also covers church furnishings. For all churches that are protected within Luleå diocese, care and maintenance plans have therefore been drawn up to facilitate the work with long-term maintenance of the churches and their inventory.
Most churches in Norrbotten have specific characteristics and descriptions, which the county administrative board of Norrbotten County together with the Norrbotten Museum have produced. The characterizations together with the care and maintenance plans make it easier when the county administrative board has to handle permit matters for church renovations. They also make it easier when the church antiquities allowance is to be distributed, a contribution that the congregations can apply to the diocese.
In the northern part of Sweden, it was often a long way to church. So when compulsory church attendance was introduced in the 1600th century, smaller cottages were built around the church one belonged to. The cottages were for temporary accommodation when attending religious services, but they were used just as often when there were markets and things.
Most of the church cottages we see today are not those that stood on the site during the 1600th century, but were often added during the 1800th century.
There have been 71 church and Lapp towns in Sweden. Today, only sixteen remain, eight of which are in Norrbotten:
Arvidsjaur - building monument
ground under
Old town - world heritage
Hort salmon
Norrfjärden
Råneå
Älvsbyn
Öjebyn
What do you need to consider before constructing roof extensions in Norrbotten's church towns? Is it at all appropriate in your church town and what is the best solution to also take the cultural environment into account? Via the link below you can read a brochure about guidelines and approaches for chimney fittings and roof safety.
We live today in an industrial society. This is not least noticeable in Norrbotten, which is characterized by large-scale industries in basic industries such as forestry, ore and hydropower. In addition to the large industries, small-scale industrial activity has also been important for the county's development. In Norrbotten there is an industrial landscape that bears witness to the county's history.
When the ore was discovered in the ore fields, an extensive process started which has gained great importance for the county. People have known about the ore for a long time and already in the 1600th century they tried to make mining profitable. However, it was only in connection with the construction of the Malmbanan that the attempts were successful and an efficient export of the ore from Gällivare and Kiruna was made possible. The ore line is the railway that stretches between the ore ports in Luleå and Narvik.
With the mining of ore and the operation of the ore railway, there was an increased need for electricity. The power station in Porjus was built, thus securing the electricity supply.
The increased exploitation of northern Sweden, the increased value of the ore and the importance of the ore railway for the country's infrastructure led to a greater need for a changed defense policy in Sweden. The Boden Fortress was built, and to protect the county and its assets, the Boden Garrison was also established.
These different investments are dependent on each other and can be seen as parts of a whole. Collectively, they are usually called Norrbotten's technological megasystem, a term coined in the 1990s by Professor Staffan Hansson at Luleå University of Technology.
The forest and the forest landscape have always been an important natural resource for man's housing needs. But over the years, its importance as a resource for housing needs and additional income has changed. For a long time, firewood, building and craft materials, ship timber, food, animal feed and medicines have been obtained from the forest. The forest has been a storehouse for raw materials, a woodshed, a pantry and a pharmacy. When iron was produced, charcoal was required to be heated in order to forge the metal. One of Sweden's most important exports in the 1600th century was wood tar, which was extracted from dry pines, wind-felled resinous pines and tar-rich stumps. Wood tar was also used as a lubricant and impregnation agent.
Due to the technological developments that took place during the 1800th century, the use of resources changed radically and the conditions for livelihood changed. Steam sawmills and the art of producing paper pulp using the sulphite method meant that timber became the green gold of the forest and water became its means of transport. The sawmill and paper industry demanded that logging be made more efficient. Forestry work began to be carried out even in winter and rafting work in the summer, when mountain and spring rivers could be used.
A seasonal work that could be combined with small-scale farming was created. The forest and the water laid the foundation for our prosperity. Rafting associations were formed and the forest workers organized themselves into unions. From the 1950s, the water lost its importance for floating as a result of motorization and the expansion of the road network. However, water gained increasing value as a power source.
As the forest industry grew, the appearance of the buildings also changed. They began to use wooden panels on timbered houses and it became increasingly common to make buildings from loose timber.
The tar valley sites and charcoal pits that the archaeologists find during their inventories remind us of the forest's importance as a resource for housing needs and for bee income.
Cultivation and agriculture have for a long time been an important part of our society. Many of the older buildings that are connected to the farming landscape are still there, and the differences between, for example, the coast and Tornedalen can be quite clear. Round log cabins are common around the coast, while Tornedalen's buildings have eastern influences. Especially common is the aittan, which is a characteristic herbre with flared walls.
In Norrbotten's coastal region, the meadow barn is one of the most characteristic buildings in the farming landscape with its sloping walls. In the barn on the field, the cut hay was stored until the farmer brought the harvest home to the farm. This often happened in winter when the snow and hard ground facilitated the sled's progress.
Today, the meadow barns are under threat. Many have been demolished or moved away from the meadows. Today, only about 15 percent of the barns that were registered during the barn inventory that was made in the 1950s remain.
During the 1700th century, the timbered long lodge became popular. It had openings in both gables and could be between 30-40 meters long. The long logs were built to thresh the crop that was lying on the floor. This was done by driving wheeled threshing wagons and threshing rollers with cylindrical rollers, from one end to the other. Outside the gables of the lodge, the team turned around and then drove back the same way.
The round log was the successor to the long log when it came to threshing buildings, and was often built with six or eight sides. The shape may have been taken from the Russian soldiers who remained after the war of 1809. In popular parlance, the round logs are also said to have been called "Russian barns".
During the second half of the 1800th century, the round lodge was a common sight in the coastal regions of Norrbotten and Västerbotten. The logs were timbered with a smooth knot, a so-called salmon knot. Many also had broken gable roofs, so-called mansard roofs.
Inside the round lodge was a center post which was used for a conical roller, which facilitated the threshing.
The vase-shaped aitta is a kind of storage shed for grain. Often they were placed at the entrances to the farms. The flared walls have nothing to do with the function, it was just a way for the family to show passersby that the farm was rich.
At Storforsen, one of Europe's largest unregulated rapids, there is a forestry and rafting museum in an area that is of national interest for cultural environmental conservation in Norrbotten. In the unique forestry environment, there are also facilities and remains after the floating.
The forestry museum was opened in 1972, a year after the area by the rapids became a nature reserve. The museum depicts the development of forestry up to mechanization in the 1950s. The floating museum was opened in 1992 to complement the river's importance for the transport and floating of timber.
The museum consists of 17 authentic buildings. They have all been moved here from different places in Norrbotten and have been used in forestry and rafting. When the museum was built, objects, implements and tools were also collected that were used by forest workers and boatmen from the end of the 1800th century until mechanization in the 1950s.
The buildings on the museum grounds have been left to their fate for many years by the previous area manager. It has left its mark and many are today in urgent need of measures.
Norrbotten's museum therefore took over the care during 2020/2021 and a few years later work began on a care and maintenance plan for all the buildings in the area. With it as a basis, the restoration work has now begun. Gradually, the buildings will be repaired, mended and restored in collaboration with craftsmen and Älvsbyn folk high school.
The purpose of UNESCO's World Heritage Convention is to protect the cultural and natural environments that are judged to be the most valuable from an international perspective.
In Sweden, fifteen natural and cultural heritage sites are currently on UNESCO's World Heritage List. Three of the world heritage sites are located in Norrbotten: Gammelstad's church town, Laponia and Struve's meridian arc.
Gammelstad's church town became a world heritage site in 1996, with its cultural-historical buildings in the form of a late medieval stone church, 404 church cottages and six stables.
The justification for the decision to declare Gammelstad's church town a world heritage site was:
"Gammelstad's church town is an outstanding example of the traditional church town found in northern Scandinavia. It illustrates in an extraordinary way the adaptation of traditional town planning to the special geographical and climatological conditions that prevail in a difficult natural environment."
Virtual tour in Gammelstad's church town
The area became a World Heritage Site in 1996 due to its natural and cultural values.
The justification for the decision to declare Laponia a World Heritage Site was:
"The area is an outstanding example of how the earth has developed above all geologically, and how ecological and biological changes are taking place today. Here there are outstanding natural phenomena of exceptional natural beauty as well as important natural premises to protect biological diversity. The area, which since prehistoric times has been inhabited by the Sami, is one of the best-preserved examples of the nomadic area in northern Scandinavia.It contains settlements and pastures for large reindeer herds, a custom that goes back to an early stage in man's economic and social development."
Struve's meridian arch was declared a world heritage site in 2005.
The meridian arc consists of 265 measuring points between Hammerfest in Norway and Izmail on the Black Sea. The purpose of the measurement points was to prove that latitudes become shorter at greater distances from the equator. This means that the earth is not completely spherical, but rather oval. The Earth's rotation affects the poles so that they flatten as the Earth's mass is pulled towards the equator.
The world heritage is a technical-scientific cultural heritage and includes 34 of the measurement points. They are distinguished by drilled holes, stone mounds, iron crosses or obelisks. There are four of the measuring points in Sweden. They are located on the mountains Tynnyrilaki, Jupukka, Pullinki and Perävaara. These mountains are located in the municipalities of Haparanda, Kiruna, Pajala and Övertorneå.
Here we have collected questions and answers about building conservation. If you have questions about painting, window renovation, wood stoves or anything else related to building conservation, the answer may be below. If not, do not hesitate to contact one of our building conservationists.
I have a timber building that was painted with acrylic paint in the 1970s. Most of the acrylic paint has come off. Is it possible to paint with mud paint directly on? Or do you have any other tips?
Mud paint adheres best to clean wood, unplaned surfaces. It is possible to paint with mud paint on the surface, but if the acrylate remains, it will come off in the same way as before. We recommend that you remove as much of the acrylate as possible before painting with mud paint. Leave the color that is really stuck. Eventually, the acrylate paint is phased out and you get a completely mud-colored surface.
We will paint the facade of the house in an off white color, with chrome oxide green window frames. We do not want to paint with linseed oil paint given the long drying time. Are there other good alternatives, such as mud paint?
White mud paint is only sold for breaking with other colors as it can quickly become ugly in its color. It is therefore better to use linseed oil paint, even if the drying time is longer. Linseed oil paint is natural and environmentally friendly, and ages beautifully and is easy to maintain. Linseed oil's small molecules allow it to effectively penetrate the wood fibers and protect the wood from rotting.
I want to paint kitchen cabinets with white linseed oil paint. What is recommended for paint that also gets a hard surface, can be wiped off and is environmentally friendly?
Linseed oil paint is perfect for kitchen doors. Mix in 5-10 percent linseed oil varnish in the color when final ironing and it will be harder. Or you mix in 25 percent linseed oil varnish and then get a glaze. The surface is easy to clean with a damp cloth. If the cabinets are also to be painted inside, the color should be darkened slightly because it will turn yellow in the dark cabinets. More information can be found in the question "Does a linseed oil color turn yellow?"
Does a linseed oil paint turn yellow?
No yellowing occurs outdoors. Indoors, in rooms with daylight, the color yellows slightly, but in rooms without light, linseed oil color yellows strongly. A surface that has yellowed in the dark regains its light color if it is exposed to light.
We have a baker's cottage on the farm from around the turn of the century, with double doors that are very dry. How should we take care of these? Do they need to be oiled, scraped, painted? It looks like they were once painted yellow.
First, scrape off any loose paint. Then we recommend oiling. Apply raw, cold-pressed linseed oil and let it sit for 30 minutes. Then wipe off any excess oil. Repeat the procedure if the wood has absorbed all the oil. If you then choose to paint, a linseed oil paint is recommended. One suggestion is golden ochre yellow, which has probably been on the door before. Other suggestions are chrome oxide green, English red or carbon black grey. If there are other old houses in the area, you can take inspiration from their doors.
We are thinking of changing the panels on our functional house. Is there any point in trying to save the old panel under the plastic paint?
If large parts of the panel are in good condition under the acrylic paint, it may be worth keeping. If only certain parts are rotten, you can replace them and leave the remaining panel as is, because older wood is usually of better quality than today's. Feel the facade with a knife. If the core seems hard, the wood is healthy. Feel for a little extra at the bottom of the planks and under window sections, where moisture-related problems are more likely to occur.
I'm going to putty windows this summer and of course I want to use natural materials. The old putty that is partially left behind is synthetic. Do I have to peel off all the old putty or is it enough to supplement with linseed oil putty where the old one has cracked and fallen down?
You should remove all synthetic putty before applying the natural and oil-rich linseed oil putty. Use a chisel with a small wheel. It is also possible to use a regular small chisel. It is advisable to practice on a window first, as it is easy to crack the glass before you have found the technique.
I'm going to renovate my windows. They are in good condition except for peeling paint and dry wood. I don't know what kind of color it is. The flakes come off in large pieces and are easy to break off. I was thinking of using linseed oil putty and linseed oil paint. Can I paint with linseed oil paint over the old paint?
The old paint is most likely an alkyd oil paint as it is flaking in large pieces. If the flakes had been smaller and more square, it would probably have been linseed oil paint. In order for the linseed oil paint to penetrate the wood, it is best to remove the alkyd oil paint before painting the windows with the new paint.
Should you use boiled or raw linseed oil to oil the windows before they are painted?
Use raw cold-pressed linseed oil if you oil the frames before the primer. The linseed oil has small molecules that penetrate nicely into the wood.
Which white window color should you have for a dark red house? A neutral white, or with refraction?
In the past, it was common for the white paint to change color when the colors were mixed by the painter. We recommend an off-white (NCS S-0502-Y) or a gray color for your red house. A chalky white color can easily be perceived as very white in contrast to the red facade.
I have a fireplace that could use some care. What color should I use?
The paint used for fireplaces is traditionally lime paint, also called chalk. But some bricks have also been painted with adhesive paint. Chalk paint is known to chalk, so if you don't want to risk getting white clothes, you can use a matte linseed oil paint.
How to repair plaster damage on a fireplace?
Most of the time, fireplace damage is not as dangerous as it may seem. Minor damage can be repaired with sand putty. If the damage is larger, knock off the loose plaster. Finally, you polish the surface with lime mortar.
I have a question about non-contemporary details. Should I replace the light yellow refractory brick from the 1960s with a more contemporary one?
Even newer time layers may be worth preserving. It depends on how well implemented the addition/change is based on function, proportions, quality and aesthetics.
My iron stove has quite large rust spots and is quite gray in colour. There is no clay on top of the oven part and also the ashtray. Do you have any tips on how I should renovate it?
Carefully brush off rust on the iron stove with steel wool or a soft wire brush. Also brush off the old mud. Then mix fireproof clay (follow the instructions on the bucket) and place the clay on the young fence. The clay needs to dry for a few days before you can start the fire. In order for the iron stove to turn black again, use pitch black, preferably with a base of linseed oil, which provides good protection. Use a cloth or sponge when applying it. Remember that linseed oil can self-ignite the rags! You can find spare parts for your stove in well-stocked building care stores and in stores that sell wood stoves.
Next to my fireplace I have a mosaic floor with broken pieces. Can it be fixed?
If you have leftover mosaics of the same type, you can replace the broken pieces. Otherwise, you can fill in the missing pieces with a mortar. If you want to make it look nice, you can color in the repair, or paint directly on with a color that goes with the mosaic. The Japanese art form Kintsugi aims to enhance an object's value through its repairs. Maybe you can find inspiration in that technique.
Our house's foundation has already been fixed with house fixes, not pretty at all. Should you repair cracks with mortar?
To repair the cracking, you first need to find out what the original mortar is made of. The basic principle is to repair cracks with a mortar whose aggregate and hardness are consistent with the existing mortar. If the substrate sands when you scratch it lightly with a screwdriver or something else hard, it is most likely a lime mortar. If it is lime mortar, knock off the house fixer and brush away all loose material. Then cook with pure lime mortar (sand, water and lime). No mortar reinforced with cement! Water the cleaned surface with clean water so that the mortar does not dry too quickly against the substrate.
I have an upper floor in a house from the 1800th century that needs to be tidied up. The walls are timbered and have panels on the outside. I was thinking of improving from the inside by sanding and then clay dressing directly on the timber. First clay plaster in the spaces where I sanded, and in the next step clay plaster the entire wall. Does that sound reasonable? Do I need a net or similar, or is it possible to drive directly onto the timber? Can I wallpaper or paint directly on the clay lining or is some kind of board required?
It sounds like a good order to first ease, then clay the cracks and then go on the large surfaces. Timber has good adhesion. Traditionally, the timber is split up with an ax to increase the adhesion, and then clay plastered directly on. You can use that method, but it can be both heavy and unnecessary to chip in the dry and old timber. Then it may be wise to install a galvanized wall netting (chicken netting) which is instead attached with slats or the like. When painting or wallpapering − make sure that the clay coating has dried properly. It is fine to paint directly on the clay, then use glue paint, chalk paint, linseed oil reinforced glue paint or emulsion paint such as tempera. If you choose to wallpaper, first coat the surfaces with wallpaper paste.
We have been advised to additionally insulate our house in connection with panel replacement. Is this really wise, can it collect moisture in the house? If we choose to additionally insulate, what material should we use?
First of all, you should ask yourself why the additional insulation should be done? It is often enough to check that the house's windows and doors are working as they should, and seal first if there is a need. For example, additional insulation in the attic can be a fairly simple measure, which provides a good saving effect at low costs. Swedish building maintenance association The energy book highlights various options for additional insulation, and contains food-useful information and good tips.
If you are going to additionally insulate the house, it is important that you use natural insulation that breathes, for example linen insulation. If the additional insulation is to be done from the outside, it is a good idea to also move the windows out into the new facade life as it gives the building a better overall impression.
When should the ventilation hatches in the stone foundation be opened?
The ventilation hatches can be opened when the temperature in the foundation of the house is higher than the air temperature outside. It is often a bad idea to open and aerate in early spring. The air outside is warmer than the foundation of the house, which has cooled down after winter. Warm air has a greater ability to carry moisture, and when it enters the cold space it can no longer hold the moisture and condensation forms. A tip is to use your nose and smell under the foundation. It is a good indicator to determine if there is a problem with moisture or not.
I have an attached cold porch/glazed veranda made of loose timber. The rest of the house is timbered. The stairs to the upper floor lead from the cold porch and need to be insulated. Right now the glazed veranda has single-glazed windows and simple double doors. What is most important - double windows and a new door, or to insulate with, for example, wood fiber and interior paneling? Due to the location of the stairs, there is not much room to expand. Ideally, I would not want to insulate from the outside, but maybe that makes more sense?
You should review the whole to minimize thermal bridges in the construction. For a loose timber construction, wood fiber insulation works well. Also operate windows and install new sealing strips. Installing interior windows in winter is also recommended. In terms of insulation, the first few centimeters make the biggest difference, 5 centimeters can provide sufficient effect.
We have a holiday home with a crofter foundation and a timber frame, where we have had problems with poor floors and joists. We have now replaced the floors in two of the three rooms downstairs, built new joists and insulated with foam glass. In connection with this, the valves in the foundation have been blocked, which affects the indoor air. Should we put new valves in the walls instead?
A house needs ventilation to feel good. In what way has the ventilation been closed? What did the ventilation look like before? If you have rebuilt the valves so that the supply air from the foundation does not enter the house, you need to install new ventilation. Air in is put at the bottom, and air out is put at the top. The foundation also needs to be aired.
We have bought an old house and are thinking about energy efficiency. According to the previous owner, the house is insulated, but still a bit cold in the winter. Since we haven't had time to live in the house during the winter, we don't know how cold it will be. Do you have any tips on how we should think?
It is good to live in the house for a winter to determine where it gets cold. Is it from the windows, the floors or the front door? If it's cold from the windows, you can seal the gap between the window frames and the frame with window tape. You can hang a thick curtain in front of the front door. Maybe you can update the current heating system or turn down the heat in rooms that you don't use very often? There are also bigger measures you can take. To get the right advice for your particular house, you can contact an independent energy adviser, for example via the municipality. Remember that the values that your house has must remain after the measures.
We want to put a new roof on our norrbottensgård and are thinking about sheet metal. Does it fit our house? Is it better to buy unpainted sheet metal and paint it ourselves, or should we buy ready-painted?
A tin roof is very suitable for a Norrbotten garden, ready-painted or unpainted. However, a finished painted ceiling can flake over time and become quite ugly. A good idea might be to buy factory-primed sheet metal and paint the roof yourself. Then use linseed oil paint that has molecules that cause the paint to penetrate the plate. Also think about installing snow protection at the entrance, because the snow gets good speed on a tin roof.
I have an old wooden house where we are going to build a new bathroom. Now there are wooden walls (planed wooden planks) and pearl rafters where we intend to install a shower cubicle. There is a ventilation duct to the chimney, so I was thinking of putting in an exhaust fan. What do you recommend for wall and floor materials? I prefer not to put in plastic carpets and walls, but still be sure that the moisture does not creep into the house.
There are a few different solutions to choose from. You can choose tiles and clinker, which is very classic. Or is there an option to keep the pearl pontoon and paint it with linseed oil paint? Read about what applies to wooden panels in wet areas on the Housing Authority's website.
Another option is clay. Clay is one of our oldest building materials and has good hygroscopic properties that bind and release moisture. You can either combine conventional methods of moisture barrier or completely rely on the properties of the clay. Clay lining is still an unconventional method according to building codes, but there are many good examples of the method working.
For the floor, tiles, bricks or an oiled clay floor can be suitable.
I have an agricultural property from the 1800th century with an associated outbuilding. The economy building consists of a food stall with a cellar, a middle part and the old stable. Can you apply for funds to restore such? Is it interesting to preserve? The log yard at the bottom is bad and on the short side it has been taken up for a garage door.
You can apply for a grant from the County Administrative Board in Norrbotten for the most prioritized measures, such as replacing the bad sill log (the log yard at the bottom). The grant can cover extra costs, for example hiring a craftsman with cultural history expertise. There is a greater chance of receiving a grant for a building located within a designated cultural environment or visible from a street. Caring for a culturally historically interesting building can be about preserving it, or making it more accessible and useful. Does the garage door fulfill a function today? Or would the space have been more useful in its original design?
When we bought our house, we were told it was K-rated. What does it mean? Is there anything special we need to think about when we start a major renovation?
When a building is culturally and historically valuable, it can be protected with three different designations in the municipality's detailed plan:
k - is a designation in older detailed plans as protection for buildings and areas of cultural and historical value. It is today a general collective term for various legal protections and has been replaced by q and Q.
q - the building is culturally and historically valuable and must not be demolished or defaced. Here there may be guidelines for how the interior should look, i.e. things that normally do not require planning permission.
Q - how an area or building may be used with regard to its cultural values.
To find out what applies to your particular house, the answer can be found in the municipality's detailed plan. Contact the building permit officers in your municipality and they will help you decipher it.
The century of architects
European architecture 1800th century. Svedberg, Olle, Architecture, 1994.
Architecture terms
Ahlstrand, Jan Torsten, Student literature, 1976.
To build a country
1900th century Swedish architecture. ed Caldenby, Claes, Building Research Council and the Museum of Architecture, Swedish Construction Service, 1998.
The word of construction
Meaning, origin, history. Dravnieks, Gunnar, Swedish Construction Service, 1988.
Characteristics of buildings
Style history handbook 1880-1960. Lepasoon, Urve, Housing Authority 1995.
Farmers' construction
Traditional building conditions in rural Sweden. Werne, Finn, 1993.
Dating of half-timbered houses in Sweden
Arnstberg, Karl-Olov, Nordic Museum, 1976.
The birth of the modern city
Swedish architecture 1890-1920. Eriksson, Eva, Ordfronts förlag, 1990.
The modern city takes shape
Architecture and debate 1910-1935. Eriksson, Eva, Ordfront, 2001.
The great urban transformation
Experiences of a cultural murder. Johansson, Bengt OH, Stockholm, Fritze, 1997.
The Swedish city
Planning and design - from the Middle Ages to industrialism. Hall, Thomas, Dunér, Katarina, Sveriges radios förlag, 1997.
The Swedish public housing building
About the cooperative association's architectural office Brunnström, Lisa, Architecture, 2004.
A Swedish restoration tradition
Three architects shape the 1900th century's view of history Edman, Victor, Byggförlaget, 1999.
Gardens of Europe - from antiquity to the present
Blennow, Anna-Maria, Signum, 2002.
High church, low church, free church in Swedish architecture 1800 - 1950
Lindahl, Göran, Stockholm, Diakonistyrelsens book publisher, 1955.
Country house - Swedish building tradition
Ohlsson-Leijon, Karin, Stockholm, Hus & hem, 2001
When the medieval sun has set
The debate on building maintenance in England, France and Germany 1845 - 1914. Kåring, Göran, Royal Academy of History and Antiquities, 1995.
Cultivation landscape and landscape image
Studies for cultural environment programs for Sweden Sporrong, Ulf, Riksantikvarieämbetet, 1996.
The Century of Planners
European architecture 1900th century. Svedberg, Olle, Architecture, 1996.
The record years
An epoch in Swedish housing construction. ed Hall, Thomas, Karlskrona, Boverket, 1999.
Swedish house
Rural architecture - from peasant society to industrialism. Hall, Thomas, Dunér, Katarina, Carlssons book publisher, 1995.
Swedish city
Paulsson, Gregor, Student literature, 1972.
Church history of Sweden
Edited Tegborg, Lennart, Verbum in collaboration with the Church of Sweden's Research Council, 1998-2005, 8 volumes.
This is how the houses were built in 1880-1980
Björk, Cecilia, Kallstenius, Per, Laila, Reppen, 1984.
So the city was built
Björk, Cecilia, Reppen, Laila, Stockholm 2000.
Tradition in wood
A journey through Sweden. Byggförlaget, 2002.
If you don't find what you're looking for here, search in the magazine Byggnadskultur's article collection.
Fire protection in cultural buildings
Handbook on fire inspection and fire protection measures in buildings of cultural and historical value. Fällman, Leif, Statens rädningsverk and Riksantikvariembetet, 1997.
Building maintenance in practice – Part I: Relocation of old houses
Gudmundsson, Göran, Byggförlaget, 2001.
Building maintenance in practice – Part II: The heat in old houses
Gudmundsson, Göran, Byggförlaget, 2001.
Building maintenance in practice – Part III: Exterior renovation
Gudmundsson, Göran, Byggförlaget, 2002.
Building care in practice – Part IV: Interior renovation
Gudmundsson, Göran, Byggförlaget, 2002.
Building maintenance in practice – Part V: Painted floors
Gudmundsson, Göran, Gysinge center for building maintenance, 2006.
Questions and answers about building maintenance
Lindbom, Roger, Wenander, Vicki, Byggförlaget, 2001.
Old houses - investigate and fix
Lars Eric Olsson, Swedish construction service, 2007.
The craft in old houses
Lisinski, Jan, Barup, Kerstin et al, Byggförlaget in collaboration with the Swedish association for building care, 1998.
The big book on building maintenance
Gudmundsson, Göran, Stockholm, 2012. (Also available from 2010)
This is how crofts and farms are renovated
Hidemark, Ove, Unnerbäck, Axel et al, ICA Bokförlag, sixth edition 1995.
Tips and advice on building maintenance
Gudmundsson, Albert Bonnier's publisher, 2008.
The care of old buildings
Gustafsson, Gotthard, Biörnstad, Arne, 1993.
The real tile stove
Cramér, Margareta, Borås, 1991.
Tiled stoves, stoves and stoves
Tunander, Britt & Ingemar, 1982.
The heart of the house – stoves in old houses
Mårtensson Hans, Kristianstad, 2001.
Architects on color and painting
Dreijer, Clas, Jerkbrant, Conny et al, Byggförlaget, 1992.
Building painting with traditional color types
Information sheet from the National Antiquities Office, 1983.
Information sheet: Building painting
Historical oil paints in architecture and restoration
Karlsdotter Lyckman, Kerstin, Färgarkeologens förlag, 2005.
1800th-century stencil-painted wall patterns in Norrbotten.
Bergman, Kaj, Norrbotten Museum, 1974.
That's how they painted
Fridell-Anter, Karin, Wannfors, Henrik, Swedish Construction Service, 1989.
The wallpaper book
Wallpaper in Sweden. Broström, Ingela, Stavenow-Hidemark, Elisabet, Byggförlaget, 2004.
Windows - history and advice for renovation
National Antiquities Authority, report RAÄ 1988:1. Report: Window
Windows and doors on older houses
Jarnerup Nilsson, Liselotte, Ica publishing house, Västerås 2011.
Old windows - renovate, restore and maintain
Stenbacka, Alf and Eva, Nordstedts förlag, 2010.
Five pillars – A guide for good building maintenance
Robertsson, Stig, National Antiquities Office, 2002.
Cultural historical evaluation of buildings
Unnerbäck, Axel, Riksantikvariembetet, 2002.
Strategy for caution – Panel housing and slatted housing
Melchert, Daniel, National Antiquities Office, 2006.
Report: Strategy for prudence
Careful & frugal - Renovation of 1950s homes
Blomberg, Ingela, Stockholm, Formas, 2003.
Iron sheet - instructions for maintenance and repair
National Antiquities Office, 1993.
Report: Iron sheet
Chips - Recommendations for manufacture, laying and protective treatment
Kjellberg, Henrik, National Antiquities Office, 2002.
Report: Shavings
Stick shavings: pearl, spiller, spiller shavings
Wedman, Stina, National Antiquities Office, 1998.
Roof tiles, tiled roofs
Antell, Olof, Riksantikvariembetet, The Norwegian Council for Building Research, Stockholm, 1986.
Older cardboard roofs - history and renovation
National Antiquities Authority, report RAÄ 1985:7.
Building technology and carpentry
Sjömar, Peter, Chalmers University of Technology, Gothenburg, 1988.
Building traditions in border areas
Jamtli, Jämtland county museum, Stiftelsen domkirkeodden, 2007.
Dating of half-timbered houses in Sweden
Arnstberg, Karl-Olov, Nordic Museum, 1976.
From log to cabin
Håkansson, Sven-Gunnar, 2004.
Handbook in barn restoration
Norrbotten Museum, 2003.
Log house - Inspection and repair
The National Antiquities Authority and the State Historical Museums, report 1992:2.
Report: Timber house
Stick shavings: pearl, spiller, spiller shavings
Wedman, Stina, National Antiquities Office, 1998.
Wood - building material past and present
National Antiquities Authority, report RAÄ 1987:6.
Report: Wood
Was the wood better before?
The Nordic Museum and National Antiquities Office, 1982. Håkansson, Sven-Gunnar, ICA book publishing house, 2004.
Caring for wooden houses - a handbook in the care and renovation of old wooden buildings
Thurell, Soren, 1998.
Building archaeological survey
Andersson, Karin, Hildebrand, Agneta, National Antiquities Office 1988.
Building surveying – history and practice
Sjömar, Peter, National Antiquities Office, 2000.
Lime plaster 2 History and technology - presentation of knowledge and research needs
The National Antiquities Office and the state's historical museums, Report RAÄ 1984:4, 2006.
Lime plaster 5 – practical instructions for working with lime mortar and lime paint
ECS Technology, 2003.
Lime plaster: the importance of the pore structure for durability
Balksten, Kristin, Chalmers University of Technology, Gothenburg, 2005.
Natural stone in buildings: Swedish building stone & damage pictures
Friberg, Gunnel et al., National Antiquities Board, State Historical Museums, Department of Conservation, Stockholm 1994.
Natural stone in buildings: The stone in time - From the 1000th century to 1940
Friberg, Gunnel, Barbro, Sundnér, National Antiquities Authority, State Historical Museums, Department of Conservation, Lund 1996.
Natural stone in buildings: Technology & History
Barbro, Sundnér et al., National Antiquities Board, State Historical Museums, Department of Conservation, Stockholm 1995.
Older masonry houses – Repair and remodeling
Red Humble, Olle, The Norwegian Building Research Council, 1990:3, 1990.
The energy book - energy efficiency for small house owners
Red Löfgren, Eva, Hansson, Paul, Swedish building maintenance association, Stockholm 2011.
Wandering moisture, Radiant heat – That's how houses work
Hagentoft, Carl-Eric, Student Literature, 2002.
The heating book - cut your heating costs in half
Andrén, Lars, Axelsson, Anders, 3rd rev. edition, Stockholm, 2007.
"Energy-saving prerequisite for conservation"
Broström, Tor, 2007. In: Tidskriften Byggnadskultur no. 1/2007. Stockholm.
"The art of saving energy in an old house"
Joelsson Anna, Brandén Ingela, 2006. In: Tidskriften Byggnadskultur no. 3/2006. Stockholm.
"Special number - see about your house"
Ed. Ekman, Gunilla, 2006. In: Tidskriften Byggnadskultur. Stockholm.
"Theme Energy"
Ed. Ask, Victoria et al, 2007. In: Tidskriften Byggnadskultur no. 1/2007. Stockholm.
"Fire in the rear and smoke over the roofs"
Thurell Sören, 2000. In: Tidskriften Byggnadskultur no. 4/2000. Stockholm.
To stop heating a church
Antell, Olof, Karlström, Johan, Riksantikvarieämbetet, 1998.
Handbook on sustainable energy use for the church
Broström, Tor, Hård, Marie, Melander, Dan, 2008.
Stories about our society's history - Swedish industrial memories
The National Antiquities Office's program for industrial heritage. The National Antiquities Office, report no. 2001:5.
The Swedish hydropower plants
Technology for a hundred years. Spade, Bengt, National Antiquities Authority and Kraftverksföreningen, 1999.
Electric hydroelectric plants
Culturally valuable facilities 1981-1950. Brunnström, Lasse & Spade, Bengt, National Antiquities Office, 1995.
Aesthetics & engineering
The architectural history of Swedish hydropower. Brunnström, Lasse, National Antiquities Office and Swedish Energy, 2001.
The industrial landscape – cultural environment and resource for the city's future
Red Lundström, Mats & Nyström, Louise, Urban Environment Council, 2001.
Industrial environments in the countryside
Studies for the cultural environment program for Sweden. Vikström, Eva, National Antiquities Office, 1995.
Industry footprint
Perspectives on a research field. red Avango, Dag, Lundström, Brita; Symposium, 2003.
The cultural heritage of industrial society
Report of the delegation for the industrial society's cultural heritage, SOU 2002:67. Stockholm 2002.
Infrastructure in Sweden for a thousand years
Studies for cultural environment programs for Sweden Westlund, Hans, Riksantikvarieämbetet, 1998.
54 years in Lapland
About Luossavaara-Kiirunavaara Aktiebolag 1903-57 Stockholm, 1957.
Stories about our society's history - Swedish industrial memories
The National Antiquities Agency's program for industrial historical heritage The National Antiquities Agency, report no. 2001:5.
The dark mountains – a chronicle of the Lapland ore fields
Ahlström, Gunnar, Norstedt, 1966.
The mountain buzzard Borg Mesch
Photographer pioneer among Sami, Rallar and mighty landscapes Hedin, Svante, Enskede 2001.
From Nasafjäll to SSAB – iron and mining management in Norrbotten for 300 years
Hansson, Staffan, Centek publishing house, 1987.
Glimpses of Kiruna's early history
Persson, Curt, from Norrbotten 2006, Luleå, Norrbotten museum.
Mine and work
Kiirunavaara 1890-1990 Eriksson, Ulf, Uppsala, 1991.
Mines and mills in the north
Kummu, Maria, Kiruna, Pajala and Övertorneå municipalities, 1997.
Hakon Ahlberg
Architect and humanist edited Rudberg, Eva, Paulsson, Eva, Stockholm, Statens råd för bygningsforskning, 1994.
Höök's architectural firm
Gradin, Eva, from Norrbotten 2005, Luleå, Norrbotten museum.
Kiruna – the 100-year book
Kiruna Municipality, 2000.
Kiruna – a community building in Sweden at the turn of the century
Brunnström, Lasse, Umeå, 1980-1981.
Kiruna – industrial society in change
Persson, Curt, from Norrbotten 2005, Luleå, Norrbotten museum.
Kiruna Church
Bedoire, Fredric, Stockholm, 1973.
Kiruna Church
Engström, Agneta, from Norrbotten 2002, Luleå, Norrbotten.
Kiruna – the city as a work of art
Red Brummer, Hans Henrik, Waldemarsudde, 1993.
Kiruna City Hall as a public meeting place and municipal work environment
Gradin, Eva, from Norrbotten 1999, Luleå, Norrbotten museum.
Art in Kiruna
Patriarchalism and national romanticism 1900-1914 Andrén, Brit-Marie, Umeå University, 1989.
LKAB in picture
Red Brunnsjö, Sven-Eric, Hall, Anders & Johnson, Tore, Stockholm, LKAB 1965.
Malmbanan 100 years
Norrbotten Museum, yearbook 1988.
Ore, rails and electricity – the creation of a technological mega-system in Norrbotten 1880-1920
Hansson, Staffan, from The constructed world, ed Blomkvist & Kaijser, Symposion, 1998.
Norrbotten's technological mega-system
The County Board of Norrbotten County, 2005.
The matter of the public
Cultural analytical perspectives on municipal buildings Arvastson, Karin, Hammarlund-Larsson, Cecilia, Stockholm, Carlsson & Nordiska museet, 2003.
Program for Norrbotten's industrial heritage
County Board in Norrbotten County, report 1/2000.
Ralph Erskine, architect
Egelius, Mats, Stockholm, Byggförlaget, 1988.
Ralph Erskine as industrial architect
Rönn, Magnus, Stockholm, Swedish Construction Service, 2000.
The city hall – the living room of Kiruna residents
Malmström Skans, Anita, from Norrbotten 1998, Luleå, Norrbotten museum.
Our image archive contains over two million images, from the 1880s to the present day. The collection reflects the people and development of society in Norrbotten up to the present day.
The diversity in the image archive is striking − landscapes, work images, documentation of objects, archaeological documentation, historical events, and more. The collections from famous photographers such as Lea Wikström and Adolf Hjort are extensive.
The various photographic techniques are also represented here, from ferrotypes to today's digital images.
We are happy to accept image collections, but are restrictive towards images that lack information and where no one can provide information about the images.
The museum's image archive contains large collections of negatives from photographers who were active in Norrbotten. Some of them are Adolf Hjort, Lea Wikström, Rolf Ericson, Mia Green and Bert Persson.
Adolf Hjort was born in 1896 in Alvik. He worked at a young age as a sawmill and pulp mill worker. For a period he served as an extra teacher in Älvsbyn. He got involved politically in the Nederluleå municipal council and over time became the district's trustee and clerk.
Adolf Hjort's picture collection was created during the period 1922-1948. He photographed landscapes and buildings, people at work and parties and created a fine collection of images. The villages of Alvik and Långnäs, a couple of miles south of Luleå, were at the center of his interest. With a Stölma 2, he photographed local events, association events and family parties. The collection was handed over to Norrbotten's museum in 1975.
Lea Wikström (1888-1980) was born in Luleå. After a period as an apprentice in Henny Tegström's photo studio in Luleå, she worked as a photo assistant in southern Sweden. Around 1917-1918 she moved to Malmberget and took over Grahn's photo studio in Malmberget.
Lea Wikström worked as a photographer for over 60 years. At the beginning of the century, it was obvious that the photo apprentices would learn all the working steps, and therefore Lea also carried out all the darkroom work herself. The photographic equipment with all glass plates and negatives was handed over as a gift to the Norrbotten museum in 1978.
During her time in Uppsala, Lea Wikström often traveled to Dannemora to photograph miners. In Malmberget, she mostly worked with portrait photography, but also documented association activities, schools, bridges and roads for the road administration and more. During this time, society underwent major changes. Lea often photographed in Malmberget and its surroundings to renew and supplement her postcard collection. The business ceased in 1972 when Lea moved to Täby.
The link below will take you to a list of Lea Wikström's pictures. A few of the images are in the museum's collection database Carlotta. If you need a picture that is not in Carlotta, you can order it from us by sending an e-mail to: norrbottens.museum@norrbotten.se
Rolf Ericson was born in Luleå in 1929. Already as a young man he was interested in both art and music. The interest in art led Rolf to apply to Isaac Grünewald's art school in Stockholm, where he studied for a year. The studies were financed by working as a substitute in various orchestras. Many of the gigs were at Vinterpalatset and Nalen.
Paris and an artistic education with André Lothe beckoned. After some time in Paris, the interest in photography took over and Rolf applied for a two-year photography course in Saarbrück in Germany. When the education was finished, he went home to Sweden and got a freelance contract for Åhlén & Åkerlund where he worked for several different newspapers, including Se, Vecko-Journalen, Året runt and others. After his time at Åhlén & Åkerlund, he worked at Expressen for 6-7 years.
Reportage photographer Rolf Ericson worked as a professional photographer for 44 years. During his life as a professional photographer, he took more than 800 pictures. In 000, he donated his large picture collection to Norrbotten's museum.
When Dagens Nyheter (DN) was looking for a photographer for its national editorial office in Norrbotten, Rolf Ericson applied for the position and returned home. During 34 years as a full-time photographer for DN, he had the entire Nordkalotten as his field of work. There were many experiences, hard work and a lot of travelling.
With his camera, Rolf documented working life in the north, but also made several reporting trips abroad. In Norrbotten's museum's collection there are many pictures from the great mining strike of 1969/70, pictures of royalty on Eriksgata and pictures of Anders Andersson who lived as a hermit on Sjaunjamyren. The photo assignments entailed many and sometimes very strenuous trips on the North Calotte. The modes of transportation were not always the most comfortable; car, train, sometimes plane - but also skis, dog sled and on foot.
The donation, a fine collection of images, is registered and searchable via a subject index. Rolf Ericson retired in 1993.
The link below will take you to a list of Rolf Ericson's pictures. A few of the images are in the museum's collection database Carlotta. If you need a picture that is not in Carlotta, you can order it from us by sending an e-mail to: norrbottens.museum@norrbotten.se
Maria "Mia" Amalia Green, born in 1870, was one of the pioneers in photography in Norrbotten. Her career as a photographer began in Piteå. In 1894, she settled in Haparanda and was active in Haparanda and Tornedalen until the end of World War II.
During her more than 50 years as a photographer, she documented both everyday phenomena and world events. Many have come across her pictures from Karungi and Haparanda during the First World War (1914-1918), and the prisoner exchanges between Russia, Germany, Austria-Hungary and Turkey that took place there. Several suffered severe war injuries and the exchange of the prisoners was called "disabled transport", and is depicted in Mia Green's pictures.
Another well-known motif is the mail handling via Karungi and Haparanda during the war years. Mountains of packages, letters and dispatches from all over the world passed through these two locations.
Mia Green passed away in 1949. Her business was then sold, and the collection passed through several owners before it was acquired by the city of Haparanda in the early 1970s.
In 2022, Norrbotten's museum acquired parts of Bert Persson's picture collection, which are today owned by his wife and daughters. The collection is a unique time document from his activities as a journalist and photographer in northern Sweden, from Sundsvall and north, for 66 years.
The collection contains around one million images and Norrbotten's museum has acquired around 5000 negatives. The pictures reflect the breadth of Bert Persson's activities - the depictions he made of Sami society, associational life, the armed forces, society and business life and his activities on Nordkalotten.
Bert Persson appeared in the picture magazine Se, Expressen and in a number of other newspapers with his pictures and his pictures came to set the image of northern Sweden for many. Bert Persson lived in Luleå and died in his home at Malmudden in 2017.
In the museum's database Carlotta, you can search for information about photographs and objects in our collections.
You can purchase images from our image archive for private use, research and publication.
You only purchase the right to use the image in a specific context, which has been agreed upon at the time of purchase. It can be for private use or publication in, for example, a printed matter or exhibition. By purchasing an image, you do not acquire the copyright to the image.
We charge an administrative fee for ordered images.
When publishing, the names of the museum and the photographer must always be stated next to the image or in the list of images as follows: Photographer: Photographer's name © Norrbottens museum alternatively Photographer: Photographer's name, image from the Norrbotten Museum's image archive.
When publishing on the internet, the names must always be placed next to the picture.
By law, a person pictured must give their consent to advertising use. The responsibility for this rests with the person who publishes the image.
Contact us for pricing information by:
send email to norrbottens.museum@norrbotten.se
ringa 0920243502
Always send two copies of the publication in which the image appears to Norrbotten's museum. When publishing on the Internet, you must provide the full address of the page.
Permission for publication must be applied for in each individual case.
Manipulation of the image or the content of the image may not be done without the permission of the rights holder.
No images may be used to create new images.
No images, analog or digital, may be stored after use without Norrbotten Museum's permission.
Ethnology is a cultural science that examines people's everyday life in the past and present. It is about understanding man as a cultural being and collecting people's experiences, values and beliefs to show the interaction between group and individual.
Within ethnology, we work with contemporary collections, exhibition productions and educational activities.
We use qualitative methods when collecting data - observing, writing diaries in the field and interviewing people. Sometimes we work with archival material in the form of objects, photographs and written sources.
All the material we collect is archived so that people in the future can use it and understand their history.
SM week in Boden and Luleå March, 2024. Photo: G Rúnar Gudmundsson, Norrbotten museum.
In the future we will need more energy and therefore energy production must increase. To protect the climate, we are switching to renewable energy sources such as sun, wind and water. In Markbygden in Piteå municipality there is Europe's largest onshore wind farm. More wind turbines are planned in Norrbotten, both on land and at sea.
Wind power plants affect both landscapes and cultural environments, and touch people in many ways. The installations arouse emotions and opinions, both positive and negative. We have collected stories about wind power in Norrbotten to get a picture of how wind power affects people and places in Norrbotten.
The collection ran until September 31, 2025.
The collected stories are displayed on the website Memories and saved in the museum's archives. The stories can be used in the museum's exhibitions, publications, website and other activities.
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In 2009, Piteå Museum carried out a documentation about Markbygden and the establishment of Sweden's largest wind farm. At that time, the company Svevind had started a project in Dragaliden where 12 wind turbines were planned. Today, Markbygden is Europe's largest land-based wind farm with around 500 wind turbines. The expansion has taken place in stages and there are still some parts left before the park is completed.
It has been 15 years since Ingrid Metelius and Daryoush Tahmasebi made the documentation. We made a return visit to follow up on whether people's fears, dreams and visions came true. What were the ideas about what the establishment would bring to the area, and what does it look like today? We made interviews and photo documentation of how the place and the cultural landscape have changed.
The documentation took place from September 2024 to March 2025.
Norrbotten is a multicultural county with a long and exciting history. This is reflected in our collections of objects.
The museum's collections have been added during the latter part of the 1800th century and onwards. The collection contains archaeological finds, objects from historical times and art.
The collection consists of both unique and everyday objects that represent different eras. Through the objects, we get stories about the first people who lived here in the north, up to today's people. There is almost 11 years between the oldest and youngest objects.
We currently have limited opportunities to handle donation offers to the museum. Therefore, we have paused the collection of cultural historical objects for the entire year of 2026.
If you would like to see our collections of objects, we are happy to show them to you, either on your own or with a group. If there is something in particular you would like to look at or delve into, we will do our best to help you.
If you would like to book an appointment for a visit, you can contact us by:
send email to norrbottens.museum@norrbotten.se
ringa 0920 - 243502
Do you have questions about objects? Would you like to know more about something in our collections? Please contact us by:
send email to norrbottens.museum@norrbotten.se
ringa 0920 - 243502
Norrbotten Museum's collections are a knowledge bank. To a large extent, it has been built up through gifts from individuals.
We currently have limited opportunities to handle donation offers to the museum. Therefore, we have paused the collection of cultural historical objects for the entire year of 2026.
In the museum's database Carlotta, you can search for information about objects and photographs in our collections. We continuously update the database with images and information, so that you can explore the collection digitally.
Do you have more information about something in the database? Write it in the comments field next to the object or photograph.
